#sonder psychoanalysis moments

[bread--quest]

i think its really funny how ive almost perfectly dodged cultural christian guilt about some things but am so aggressively not immune to others. i was the only person in my college class able to casually say "yeah i think this theory is encouraging women to do erotic or sexual writing". also i do believe every bad thing that happens to me is my fault and i have to perform labors to make up for it

[theatrerambles]

Hello Dolly 2017 w/ Donna Murphy: Back Where We Belong

Nowadays theatre tries too hard to make itself too dramatic. It strives to be unique and thoughtful, which is great.

Our culture evolves through the unique and thoughtful ideas that perpetuate it. But, at what point does the theatre go from leisure and entertainment to the cause for self-conducted psychoanalysis. These new ideas currently circulating the theatre world are fucking hard to talk about or even just explain. Gender/sexuality fluid Russian pop-operas, evaluating mental illness and social media, sonder, terrorism and community; these are your best musicals. They deal with topics that people either find difficulty in understanding, or refuse to understand.

I am currently in a phase of theatre-explanation, with plans to visit the immersive shows Sweeney Todd and Sleep No More within the next two weeks. The last show I saw was Great Comet, and before that was Sunday in the Park. I’ve hit a strange, dark, contemplative side of theatre that I didn’t know existed, and over the past 4 or so years slowly began to explore it. I thought this exploration of themes would sate the doldrums I’ve had in recent years concerning theatre. Of course I love and appreciate all theatre and nothing could ever ruin the admiration and respect I have for the craft. However, as time has progressed the ‘magic’ that came along with seeing a show has slowly lessened. For me, it became more about analysis, comparison, skill of the orchestra and ensemble, and much much less about the experience.

I developed a process of becoming obsessed with a show before seeing it, listening constantly to the OC album, watching any bootlegs or recordings I could find, trying to gather as much reference material as possible, only to wind up underwhelmed by the live event in many aspects.

This ALL changed with Hello Dolly.

We started Tuesday morning with intentions to visit a museum in the city. Time delay resulted in this falling through. In a very different turn of events, we decided to 'wing’ a trip to the city, something I haven’t done in almost 10 years. We deliberate our options, and we decide that we could try and get tickets to a musical, the choice eventually made by me for that to be Hello Dolly.

We walk into a box office to buy tickets, something I hadn’t done since fucking Jersey Boys opened in 2006. The rush of exhilaration I felt to be holding real tickets in my hand, for that night, without even looking at the seats! We arrive later that night to the theatre, and I am exhilarated by the thought of seeing a show I knew nothing about. I listened once half-heartedly to not even the whole recording on the way, I didn’t know any plot points, any cast members, the theatre layout, our seat location, I knew absolutely nothing.

The show ends.

I stand up and walk out of that theatre, and I feel 6 years old. I feel that rush of an exciting plot twist being concluded, the satisfaction of being taken on this roller coaster. I felt like I’d just walked out of Disney World for the first time, something so innocent and naive, magical and spectacular. The show itself was incredible, so informal and satirical of its own form: breaking the fourth wall, witty humor, etc. Murphy is great (and doesn’t need to restart her lines every 2 scenes, and doesn’t get standing ovations for waving). Pierce and the two supporting males are also fantastic, as are the two supporting ladies. The shows score is so positive and (for sheer lack of a better word) fun! It preaches this underlying positivity, even during the shows pensive moments (of which there are thankfully few.) The ensemble is extraordinary, breaking into huge 7+ minute long dance numbers played by an amazing orchestra. The plot is simple enough and so is the humor. No need for complex metaphors or plot devices or motifs or any of that.

The musical is just really fucking fun.

It made me feel young (like reeeallly young). It returned my innocence for a few short hours as it brought me on this journey of loss, hope, and love. I payed no attention to the musical motifs or to the plot analysis or to the differences between this and the original production. All I did was sit and watch and enjoy.

We all need a Hello Dolly.

That show which reminds us why we love theatre in the first place. That show which brings out our childlike side, making us laugh and dance in our seat and want to sing along even without knowing the words. That show which reminds us what theatre is really about, and which reminds us to take our heads out of our fucking pretentious theatre asses for a second and look at the art not for what it is, but what it is to us.

Thank you, Hello Dolly.

I’m back where I belong and I’ll never go away again.